DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.8577#0075
THE EARLY CORINTHIAN ORIENTALIZING STYLE 55
If it be objected that the traces of Assyrian influence are sporadic, and that
many typical Assyrian motives made no impression at Corinth, we must
recall that the Corinthian vase-painter already had behind him a long and
brilliant tradition; that at this time there was no reason why foreign influence
of any kind should turn his head. Early in the seventh century, when such
influences first arrived in force, Greek art had preserved its individual
character in face of far greater difficulties; in Ionia and in Crete, where the
direct influence of the East was most strongly felt, there was a momentary
inclination to copy, but nothing more.1 In the time of Periander Corinth
could afford to be eclectic: if anything is surprising it is rather that so many
concessions were made.
There is not much evidence of Ionian influence in the early Corinthian
period, though certain vase-shapes and decorative motives which are char-
acteristic of eastern Greek fabrics now appear at Corinth for the first time.2
The main current of ideas was in the opposite direction. Late Rhodian vase-
painting, as has often been recognized, is directly influenced by Corinthian,
and there is a large group of Melian vases on which the same influence is
traceable.
Chronology
It has been necessary to anticipate most of the external evidence for the
chronology of the Corinthian style. Thus, we have seen that the evidence of
the finds and the evidence of style both support the view that the early
Corinthian vases are a later development than any phase of the Proto-
corinthian style; we have seen that the early Corinthian style is represented at
Selinus and Naukratis when no Protocorinthian vases are found; lastly, that
Protocorinthian and Corinthian are never found in the same graves. It
remains, therefore, to see what external evidence there is for the position of
the early Corinthian series. For this we naturally rely on the reports of
excavations, from which we learn that certain types are regularly found
associated in graves. But granted that the vases found in one grave will be
roughly contemporary, how are we to recognize early graves from late ?
The following would seem to be a simple and satisfactory method. We have
already seen that late Protocorinthian, Transitional, and some Corinthian
graves are characterized by one common element—the presence of certain
1 This moment is represented by some of the
Ephesus ivories, and by some of the Cretan shields.
2 The elongated alabastron (no. 468 and ff.) is based
on an oriental shape, very common in Ionia : for the
'alabastron-amphora' no. 473, cf. the later Clazo-
menian vase Edgar pis. 5, 6 : the ring vase with
kotylai, nos. 707 and 708, is a regular East Greek
shape (see p. 296), and the stemmed lekanis (nos.
719 A, 1015) is probably based on an Ionian form.
The small alabastron and round aryballos are
oriental, but were probably not derived from the
East by way of Ionia. The cothon is probably
Cretan in origin. The spotted deer of no. 114 A
and the Thermon metope is of course an Ionian
motive: so also the winged Artemis (but see
p. 78).
If it be objected that the traces of Assyrian influence are sporadic, and that
many typical Assyrian motives made no impression at Corinth, we must
recall that the Corinthian vase-painter already had behind him a long and
brilliant tradition; that at this time there was no reason why foreign influence
of any kind should turn his head. Early in the seventh century, when such
influences first arrived in force, Greek art had preserved its individual
character in face of far greater difficulties; in Ionia and in Crete, where the
direct influence of the East was most strongly felt, there was a momentary
inclination to copy, but nothing more.1 In the time of Periander Corinth
could afford to be eclectic: if anything is surprising it is rather that so many
concessions were made.
There is not much evidence of Ionian influence in the early Corinthian
period, though certain vase-shapes and decorative motives which are char-
acteristic of eastern Greek fabrics now appear at Corinth for the first time.2
The main current of ideas was in the opposite direction. Late Rhodian vase-
painting, as has often been recognized, is directly influenced by Corinthian,
and there is a large group of Melian vases on which the same influence is
traceable.
Chronology
It has been necessary to anticipate most of the external evidence for the
chronology of the Corinthian style. Thus, we have seen that the evidence of
the finds and the evidence of style both support the view that the early
Corinthian vases are a later development than any phase of the Proto-
corinthian style; we have seen that the early Corinthian style is represented at
Selinus and Naukratis when no Protocorinthian vases are found; lastly, that
Protocorinthian and Corinthian are never found in the same graves. It
remains, therefore, to see what external evidence there is for the position of
the early Corinthian series. For this we naturally rely on the reports of
excavations, from which we learn that certain types are regularly found
associated in graves. But granted that the vases found in one grave will be
roughly contemporary, how are we to recognize early graves from late ?
The following would seem to be a simple and satisfactory method. We have
already seen that late Protocorinthian, Transitional, and some Corinthian
graves are characterized by one common element—the presence of certain
1 This moment is represented by some of the
Ephesus ivories, and by some of the Cretan shields.
2 The elongated alabastron (no. 468 and ff.) is based
on an oriental shape, very common in Ionia : for the
'alabastron-amphora' no. 473, cf. the later Clazo-
menian vase Edgar pis. 5, 6 : the ring vase with
kotylai, nos. 707 and 708, is a regular East Greek
shape (see p. 296), and the stemmed lekanis (nos.
719 A, 1015) is probably based on an Ionian form.
The small alabastron and round aryballos are
oriental, but were probably not derived from the
East by way of Ionia. The cothon is probably
Cretan in origin. The spotted deer of no. 114 A
and the Thermon metope is of course an Ionian
motive: so also the winged Artemis (but see
p. 78).